Basic Photography Course

determine which method provides the best results under
various conditions. The method you choose to light the
same subject separates you from the average snapshot
shooter (fig. 5-27).

Off Camera Flash

Some of your best flash pictures can be made with

the flash unit off the camera. Holding the flash off the
camera and above the lens tends to throw the shadows
down and behind the subject. This is a good way to
minimize distracting background shadows that occur
when a subject is standing close to a wall. A flash held
high above the lens, either left or right, makes the viewer
less conscious of the flash illumination. People are
accustomed to seeing things lit from above, and by
placing the flash above the subject, it closely resembles
the lighting of the sun or ceiling lights.

Light that is far enough off the camera to illuminate

the subject from an angle produces modeling or
roundness. This type of light creates the illusion of a
third dimension-depth-and is more pleasing to the
viewer than the two-dimensional flat effect you get with
direct, front lighting. Light from an angle can also be
used to bring out the texture of a subject.

Indoors, two factors are important when

determining the modeling and texture effects you will
get: first, the surface of the subject itself; second, the

way you light that subject. To illustrate these points, try
photographing a Ping-Pong ball and a tennis ball
together. When you use direct, front lighting, your
picture records a two-dimensional visualization of
height and width, but little of roundness, depth, or
texture. When you light the balls from the side, both

acquire the illusion of depth; however, only the tennis
ball reveals texture. The Ping-Pong ball is much
smoother and is almost textureless.

Now substitute a young child and an old person for

the balls. With frontlighting, most of the lines and
wrinkles in the old person's face will be minimized by
the evenness of the light; however, when lighted from
the side, almost every crease will become a shaded area
and the ridges will be highlighted. Thus the texture of
the old person's face is emphasized. The child, on the
other hand, when side lighted, is still almost textureless

just as in the case of the Ping-Pong ball.

LIGHTING RATIO

Lighting ratio can be considered as a measure of

contrast. Lighting ratio refers to the combined intensity
(at the subject) of the main and fill lights as compared

to the intensity of the fill light alone; for example, both
the main and fill light of equal intensity are shining on
the subject. A reflected light meter reading is taken off
an 18-percent gray card at the subject position that
indicates there are 100 units of light falling on the
subject. Now, with the main light turned off and the
fill-in light still illuminating the subject, the reflected
meter reading indicates there are only 50 units of light
falling on the subject; therefore the lighting ratio is 2 to

1. Lighting ratio is usually expressed as the comparison

of two light intensities, such as 1:1, 2:1,3:1, and so on.

The largest number in a lighting ratio indicates the

most intense illumination at the subject position; for

example, a 2:1 ratio indicates the most intensely lighted
portion of the subject (highlights) is receiving twice the

amount of illumination as the least intensely lighted
portion of the subject (shadows). The light that produces
the most intense illumination is called the main, key, or
modeling light. The light that produces the least intense
illumination is called the fill, or fill-in. A fill or fill-in
light, as the name implies, fills in and softens the
shadows produced by the main light.

Because a lighting ratio is a comparison of the

combined main and "fill light" illumination intensities
to the fill light illumination intensity alone, the fill light

must be in a position so it completely illuminates the
portion of the subject visible to the camera. This requires
positioning the fill light close to the lens.

As a rule, 3:1 lighting is considered the best general

lighting ratio for both black-and-white and color
photography. This 3:1 ratio provides normal contrast
between the highlights and shadows and produces good
natural-looking photographs.

Some automatic electronic flashes allow you to

control the output of light. When set in the manual
position, you can adjust the light output by changing the
intensity of the flash unit to 1/2, 1/4, 1/8, 1/16, and so
forth. This allows you more control of flash-to-subject
distance as well as aperture (depth of field) control.

Achieving the desired lighting ratio with an

automatic flash unit where the flash intensity can be
controlled is quite easy. To achieve a 2:1 ratio, you set
both flash units at the same distance and at the same
intensity (either full power, 1/2, 1/4, and so on). To
achieve a 3:1 ratio, set both flash units at the same
distance and set the main light flash at full power and
the fill flash at one-half power. A 5:1 or even higher
lighting ratio can be obtained by setting both flash units
at the same distance and the main flash at full power and
the fill flash at one-fourth power, and so on. In order to

5-34

contents

Basic Photography Course

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DOFMaster for Windows On-line Depth of Field Calculator DOFMaster for Mobile Devices On-line Depth of Field Table Hyperfocal Distance Chart Articles FAQ Recommended Books Support Contact Links Home As an Amazon Associate I earn from qualifying purchases.	contents <- previous page next page -> determine which method provides the best results under various conditions. The method you choose to light the same subject separates you from the average snapshot shooter (fig. 5-27). Off Camera Flash Some of your best flash pictures can be made with the flash unit off the camera. Holding the flash off the camera and above the lens tends to throw the shadows down and behind the subject. This is a good way to minimize distracting background shadows that occur when a subject is standing close to a wall. A flash held high above the lens, either left or right, makes the viewer less conscious of the flash illumination. People are accustomed to seeing things lit from above, and by placing the flash above the subject, it closely resembles the lighting of the sun or ceiling lights. Light that is far enough off the camera to illuminate the subject from an angle produces modeling or roundness. This type of light creates the illusion of a third dimension-depth-and is more pleasing to the viewer than the two-dimensional flat effect you get with direct, front lighting. Light from an angle can also be used to bring out the texture of a subject. Indoors, two factors are important when determining the modeling and texture effects you will get: first, the surface of the subject itself; second, the way you light that subject. To illustrate these points, try photographing a Ping-Pong ball and a tennis ball together. When you use direct, front lighting, your picture records a two-dimensional visualization of height and width, but little of roundness, depth, or texture. When you light the balls from the side, both acquire the illusion of depth; however, only the tennis ball reveals texture. The Ping-Pong ball is much smoother and is almost textureless. Now substitute a young child and an old person for the balls. With frontlighting, most of the lines and wrinkles in the old person's face will be minimized by the evenness of the light; however, when lighted from the side, almost every crease will become a shaded area and the ridges will be highlighted. Thus the texture of the old person's face is emphasized. The child, on the other hand, when side lighted, is still almost textureless just as in the case of the Ping-Pong ball. LIGHTING RATIO Lighting ratio can be considered as a measure of contrast. Lighting ratio refers to the combined intensity (at the subject) of the main and fill lights as compared to the intensity of the fill light alone; for example, both the main and fill light of equal intensity are shining on the subject. A reflected light meter reading is taken off an 18-percent gray card at the subject position that indicates there are 100 units of light falling on the subject. Now, with the main light turned off and the fill-in light still illuminating the subject, the reflected meter reading indicates there are only 50 units of light falling on the subject; therefore the lighting ratio is 2 to 1. Lighting ratio is usually expressed as the comparison of two light intensities, such as 1:1, 2:1,3:1, and so on. The largest number in a lighting ratio indicates the most intense illumination at the subject position; for example, a 2:1 ratio indicates the most intensely lighted portion of the subject (highlights) is receiving twice the amount of illumination as the least intensely lighted portion of the subject (shadows). The light that produces the most intense illumination is called the main, key, or modeling light. The light that produces the least intense illumination is called the fill, or fill-in. A fill or fill-in light, as the name implies, fills in and softens the shadows produced by the main light. Because a lighting ratio is a comparison of the combined main and "fill light" illumination intensities to the fill light illumination intensity alone, the fill light must be in a position so it completely illuminates the portion of the subject visible to the camera. This requires positioning the fill light close to the lens. As a rule, 3:1 lighting is considered the best general lighting ratio for both black-and-white and color photography. This 3:1 ratio provides normal contrast between the highlights and shadows and produces good natural-looking photographs. Some automatic electronic flashes allow you to control the output of light. When set in the manual position, you can adjust the light output by changing the intensity of the flash unit to 1/2, 1/4, 1/8, 1/16, and so forth. This allows you more control of flash-to-subject distance as well as aperture (depth of field) control. Achieving the desired lighting ratio with an automatic flash unit where the flash intensity can be controlled is quite easy. To achieve a 2:1 ratio, you set both flash units at the same distance and at the same intensity (either full power, 1/2, 1/4, and so on). To achieve a 3:1 ratio, set both flash units at the same distance and set the main light flash at full power and the fill flash at one-half power. A 5:1 or even higher lighting ratio can be obtained by setting both flash units at the same distance and the main flash at full power and the fill flash at one-fourth power, and so on. In order to 5-34 contents Basic Photography Course <- previous page next page ->	As an Amazon Associate I earn from qualifying purchases.
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